PS 3507 
.E577 
P6 
1917 
Copy 1 



Poems from 
Sioux and Chippewa 



Songs 



By 

FRANCES DENSMORE 



Washington, D. C. 
1917 



Digitized by the Internet Archive 
in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/poemsfromsiouxchOOdens 



7 Poems from 

Sioux and Chippewa 



/?/7 
I 



Son^s 



By 

FRANCES DENSMORE 



Washington, D. C. 
1917 






Copyright, 1917, by Frances Densmore. 



$82797 
1M9 



INTRODUCTION 

Music and poetry are as closely allied in the In- 
dian race as in our own, and the words oi many 
Indian songs arc characterized by true poetic 
thought. A literal translation of these words con- 
veys to us the poetic element, but in Mich a trans 
lation we lose the clement of rhythm. In a majority 
of Indian songs the rhythm is irregular and the 
native words follow this rhythm, a custom different 
from our own. in which the music follows the 
rhythm oi the words. The poems herewith offered 
arc the result oi an effort to express the poetic con- 
cepts of the Sioux and Chippewa songs in their 
i iriginal rhythms. 

The songs which form the basis oi this work 
were recorded phonographically in connection with 
the study oi Indian music which for main- years the 
writer has been making under the auspices of the 
Bureau of American Ethnology of the Smithsonian 
Institution at Washington. The inspiration of the 
poems was a desire to ascertain whether the rhythm 
'-I a song is expressive of its idea. This point having 
been established, there came a de-ire to test the 
poetic quality of Indian songs by offering the verses 
themselves to th< «e wh< i in this manner may a insider 
them apart fn >m the mus 

As already indicated, each poem is in the rhythm 
of a In some instances the words are continu- 

ous throughi u1 the song, end in these the poem re- 



sembles a rhythmic paraphrase of the literal trans- 
lation; in others the words were so 1 few that it be- 
came necessary to elaborate the idea in order that 
the words should fill the melody, adding such facts 
or concepts as are known to be associated with the 
song ; while a third class of songs contains no words, 
and in these instances the poem embodies the state- 
ments of Indians concerning the origin or use of the 
song. 

The literal translations are shown for the purpose 
of comparison. Grateful acknowledgment is made 
to Mr. Robert Higheagle, a graduate of Hampton 
Normal and Agricultural Institute, who translated 
the Sioux words, and to Mrs, Mary Warren English 
and Rev. C. H. Beaulieu, members of the Chippewa 
tribe, who translated the words of the Chippewa 
songs. These literal translations and the descrip- 
tions of songs are used by permission of the Bu- 
reau of American Ethnology. 

Washington, D. C 



*/ytS*AA**>* j0l 



No. 1. "Behold" 
i Sioux) 

This is a ceremonial song of the SlOUX Sun dance, 
the three verses being sung by a leader in the cere- 
mony. The literal translation of the Sioux words 
is as h >11< >ws : 

"Where holy you behold, in the place where the 
sun rises, holy may you behold. Where holy you 
behold; in the place where the sun passes us on his 
course, holy you behold. Where goodness you he- 
hold at the turning hack of the sun, goodness may 
you behold." 

To the east turn. tribe, 

There t< > beh< >ld 

The place where the sun rises, 

Clad in gl< >ri< hi- majesty. 

S< mething holy may you behold 

In this mystery. 

To the south turn. tribe, 

There to beh< 'Id 

The place where the sun passes us 

In hi- daily c< iurse. 

Something holy may you behold 

In this mystery. 

T< i the west turn. tribe, 

There t< > behi >ld 

The place where the sun turns hack 

In gl< >ri> >us splend< >r. 

G< « 'due-- may y< >u beh Id 

In all this mvsterv. 



No. 2. Song at Sunrise 

(Sioux) 

This also is a song of the Sun dance and was sung 
by the leader as the sun rose on the second day of 
the ceremony. 

Literal translation : "Here am I, behold me. I am 
the sun, behold me." 

The rising sun in the east shining, 
Speaketh to us in his glorious splendor, 
"I am the sun ; see me in my rising. 
IvO, I am the sun, 
Behold with blinded eyes, 
I am the sun !" 



No. 3. Song of a Medicine-man 

(Sioux) 

Literal translation: "At night may I roam; 
against the winds may I roam; when the owl is 
hooting may I roam." 

In the night may I roam, 

In the night may I roam, 

Afar, afar in the night may I roam. 

Against the wind of morning may I roam, 

In the night may I roam, 

When the owl is heard hooting, hooting, 

May I roam, may I roam. 



No. 4. The Challenge 

( Si' >U\ ) 

This is a personal song of Brave Buffalo, a Siou* 
medicine-man, who received it in a dream. Because 
of this dream he believed himself invulnerable and. 
asked the people to shoot their arrows at him as a 
test. No words were sung, Brave Buffalo saying 
that "the words were in his heart." The poem em- 
bodies, i<' some extent, the story ol the dream, as 
well as the medicine-man's challenge. 

" Y< >u cannot harm me, 
You cann< >t harm 

One who has dreamed a dream like mine, 

One who has seen the buffalo in their mighty 

lodcr 
And heard them say, 
'Arrows cannot harm you now! 
We will protect you ; 
We will protect 

One who has been in the buffalo lodge, 
One who has seen us. 
One who ha- looked without fear \\}m >i} our mys 

teries, 
Hid them shoot their arrows straight, 
lad them shool their arrow- straight.' 



No. 5. My Dream 

(Sioux) 

This also is a song of Brave Buffalo, who said 
that he received it in a dream of a buffalo, and by 
it received power to engage in the practice of medi- 
cine. 

The literal translation of the words is : " 'I will 
appear, behold me!' a buffalo said to me." 

When I was but a child 

I dreamed a wondrous dream. 

I went upon a mountain; 

There I fell asleep. 

I heard a voice say, 

"Now will I appear to you." 

A buffalo said this to me, dreaming. 

When I was but a child 

I dreamed this wondrous dream. 



No 6. Night Song of a Medicine-man 

I S u\ ) 

This is a third song of Brave Buffalo, who said 
he received it in a dream ol wolves and used it in 
treating the sick. It was his custom to sing this 
s< >ng every night. 

Literal translation: "Owls (were) hooting in the 
passing of the night. Owls (were) hooting." 

The owls hooting softly, the owls hooting low; 
The owls hooting softly, while dark shadows go; 
The owls hooting softly, the owls hooting low, 
In the passing of the night, the owls hooting low, 
In the gray dawn of morning, the owls hooting low, 
To whom arc they calling. I wish I could know. 



No. 7. Song of a Warrior 

(Sioux) 

This song was sung before the departure of a 
war-party. A successful warrior had the right to 
paint his face black, this paint being worn during 
the dances which followed his return from war. 

Literal translation : "Friends, the many lands you 
fear, in them without fear I have walked. The black 
face-paint I seek." 

O, my friends, as I stand 

Here before you all assembled, 

I hear vou sins: of the lands where the warriors 

travel. 
O, my friends, the many lands that you fear, 
In them all without fear I have walked. 

O, my friends, even now 

I can see the distant mountains 

Where the snows never melt in the summer time. 

O, my friends, I have walked without fear in those 

lands, 
For there I sought the black face-paint. 

To the west and the north 

Lies the country of the enemy. 

In all those lands I have walked without fear of 

harm. 
O, my friends, in them all I have won the right to 

wear 
The warrior's badge of victory. 



No. 8. Old Sioux Love Song 

u\ ) 

Concerning love songs it was said among the 

ux that "in the old days all the 1<>vc songs were 

associated with a man's qualification to wed, tins 

being determined by his success in war or in the 
buffalo hunt." 

Literal translation of the Sioux word-: "You 
may go on the war-path. When your name I hear 
(announced among the victors), then 1 will marry 
you." 

Go thou forth with the warriors, 

thou forth t<> war: 
Go th<>u forth with the warriors. 
When 1 hear the Crier shout your name with the 

victors, 
Then, ah then, I will marry you. 

1 will stay in the village, 

I will sit with the women 

All day making moccasins, 

Listening always for the signal cry that the warriors 

come. 
Then, ah then, I may marry von. 



No. 9. A Warrior to His Horse 

(Sioux) 

This is the personal song of Lone Man, who re- 
ceived it in a dream and sang it in time of danger, 
believing it to have supernatural power. 

Literal translation: "Friends, my horse, behold 
it. 'Friends, my horse will run, behold it,' was said 
to me, Friends, my horse flying (as it were), is 
running." In this instance the idea is slightly 
changed, but it expresses a Sioux custom. 

My horse be swift in flight 

Even like a bird; 

My horse be swift in flight, 

Bear me now in safety 

Far from the enemy's arrows, 

And you shall be rewarded 

With streamers and ribbons red. 



No. 10. The Warrior's Vow 

(Chippewa ) 

In this instance no words were sung, and the 
poem presents a war custom. The melody, with 
whose rhythm the poem conforms, is that o\ a song 
which was used in the war dances. 

The feast is spread; 

The leader now is telling his men 

Where the} - will g< ►, 

What enemy tribe they will attack. 

Seated round their leader, 

Hear them respond, "Ho, ah ho, ho, ho!" 

Idle feast is done ; 

The warriors stand making their vow 

Not to retreat from where they will see 

A lanee in the ground, 

There they must ti^-lit or fall. 

Hear them respond, "Ho, ah ho, ho, ho!" 

[n distant lands 

The warriors brave enter the fray; 

Thick fly the arrows, while overhead 

Shineth the lance. 

Hut at its foot how many 

Warrior- lie— dead beside the lanee 



No. 11 

(Chippewa) 

When a Chippewa war-party left the village, the 
women walked before the warriors, all singing this 
song. After going some distance, the women di- 
vided and stood in two lines, between which the 
warriors passed on their way. The women then 
returned to the village still singing the song. 

Literal translation: "Come, it is time for you to 
depart. We are going on a long journey." 

Fare thee well. The time is come 
For our sad departing, 
We who take the road to war 
Travel on a long journey. 

Fare thee well. The warrior's eyes 

Must not look beside him; 

In departing he must see 

Only the camp-fires of the enemy. 

Fare thee well. We go to fight 
For the tribe's protection, 
Yet we know the road to war 
Ever is a long journey. 



No. 12. To the Buffalo 
(Chippewa ) 

This is a dance song, accompanying the use 
the Buffalo Medicine, which was supposed to 
strengthen the warriors. 

Literal translation: "Strike ye our land with 
curved h< otis." 

Strike ye now our land with your great curved 

h< mis : 
In your mighty rage toss the turl in the air, 
Strike ye now our land with your great curved 

h< Otis ; 
We will hear the sound and our hearts will be 

strong. 
When we go to war. 

Give us of your strength in the time o\ our need, 
King of all the plain— buffalo, buffalo. 
Strike ye now our land with v«>nr great curved 

h< otis : 
Lead us \> >rth t< > the fight. 



No. 13. The Thunderbirds 

(Chippewa) 

The following song was used in the treatment of 
the sick. It seems probable that the man who orig- 
inally used it was one who received it in a dream of 
the thunderbirds. 

Literal translation: "The sound approaches, the 
(thunderbirds^ draw near." 

Hear the loud sound! 

The thunderbirds draw near us, in their mighty 

power. 
Hark their voices ! 
The lightning flash is the gleamjp^ of their terrible 

eyes; 
The roll in the storm-swept sky 
Is the noise of the thunderbird's wings. 



No. 14. "In Her Canoe" 
(Chippewa I 

Literal translation: "1 see her, my sweetheart, 
paddling her canoe." 

In her can< >e I sec her. 

Maiden of my delighted eyes. 

I see in the rippling of the water 

The trailing light slipped from her paddle blade 

A signal sent to me. 
Ah, maiden of my desire, 
C.ive me a place in thy canoe; 
Give me the paddle blade, 
And yon shall steer us away 
Wherever you would go! 



No. 15. Love Song 

(Chippewa) 

This song was recorded in western Minnesota, 
but was said to have been brought by the Chippewa 
from La Pointe, Wisconsin, a generation ago. 

Literal translation: "To a very distant land he 
is going, my lover; soon he will come again." 

All my heart is lonely, 

All my heart is full of sorrow. 

My lover, my lover is departed. 

Dark the sky at evening, 

Sad the bird-notes in the dawning. 

My lover, my lover is departed. 

He was all my sunshine, 

His the beauty and the gladness. 

Return, return, gladness and joy. 



No. 16. Do Not Weep 
(Chippewa I 

Literal translation: "Do not weep. I am not going 
to die." 

I am ni >t going to die ; 

I am ii' >t g< >ing to die : 

I am not willing t< \ die. 

Ah. do not weep, beloved, for me. 

It is for you that I live ; 

It is for y< >u that I live : 

I [old me once more in your arms. 

Death could not take your lover from you. 



No. 17. Longing 

(Chippewa) 

Literal translation: "Although he said it. still I 
am tilled with longing when 1 think of him." 

It is true that he is gone away; 

It is true he spoke those bitter word-; 

Yet for these, for these I do not mourn. 

All my heart is filled with loneliness and pain 

In the fear he will not come again. 

Although he said it. -till I long For him, 

And still I wait f< >r him. 



No. 18. Song of the Crows 

(Chippewa) 

It is said that this song was heard by a young man 
in a fasting vision. Because of this experience he 
was able to understand the language of the crows. 

Literal translation : "The first to come I am called 
among the birds. I bring the rain. Crow is my 



name." 



I am first to come in early spring, 
"Pis I who bring the rain, 
First of all the birds, 
And I am called the crow. 

You may hear my call across the field 
And know that spring is near. 
I will bring the rain, 
For I am called the crow. 



No. 19. Song of an Ambitious Mother 
(Chippewa I 

This is the song of a mother who asks thai the 
chief's daughter be permitted to marry her son. A 
brass kettle was among the most valued possessions 
a Chippewa woman in the early days, ye1 the 
w<>rds imply that her son, and not herself, will be- 
stow this kettle upon the prospective bride. 

Literal translation: "I am asking for Bugac's 
daughter. My big brass kettle he is giving." (Bu- 
L, r ;ie is the name of a chief.) 

This I have come to ask you, 
This F have come to ask you — 
O, let your daughter 
Marry my son. the hunter, 
\nd he'll give your daughter 
Mv big brass kettle. 



No. 20. The Child in the Dark 

(Chippewa) 

The man who recorded this song said that when 
he was a child his mother once left him alone in the 
wigwam at night. He became very much afraid that 
he would hear an owl, which is the particular terror 
of small Chippewa children, so he composed this 
little song and sang it. The people in nearby wig- 
wams heard him singing, and learned the song, 
which afterward became popular in the village. 

Literal translation : "Very much also I of the 
owl am afraid, whenever I am sitting alone in the 



wisrwam." 



Very much do I fear 

That the owl I may hear 

When I sit all alone in the wigwam. 

Very much do I fear 

That the owl I may hear in the dark. 



No. 21. Lullaby 
(Chippewa ) 

The Chippewa women use no words with this 
song repeating over and over the soothing syllables 
"Way, way, way." 

Little baby, sleep, 

Mother swings vour hammock low; 

Little birds arc asleep in their nest. 

Way, way. way. way. way. 

Way. way. way, way, way, way, way. 

Little baby with nothing to fear. 



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